Earlier this Spring I watched every James Bond movie, including the off-grid Never Say Never Again, and the Everything or Nothing documentary. Most (if not all) of the Bond movies cycle in and out of availability on Netflix & Amazon Instant services. This August, you can catch them on Amazon. If you don’t want to watch them all, here’s my ever-changing list of favorites for you to pick & choose from:
- On Her Majesty’s Secret Service
- Casino Royale
- From Russia With Love
- You Only Live Twice
- The Spy Who Loved me
- Dr. No
- For Your Eyes Only
- The Living Daylights
- License To Kill
- Diamonds Are Forever
- Live and Let Die
- Quantum Of Solace
- The World Is Not Enough
- A View to A Kill
- Tomorrow Never Dies
- The Man With The Golden Gun
- Die Another Day
- Never Say Never Again
Disagree with my ranking? Let me know why I’m wrong.
After watching Bones Brigade this weekend I decided to learn more about Rodney Mullen. I particularly enjoyed this excerpt from his TED talk about competing and winning early on in his freestyle skating career:
I think I was on tour when I, I was reading one of the Feynman biographies. It was the red one or the blue one. And he made this statement that was so profound to me. It was that the Nobel Prize was the tombstone on all great work, and it resonated because I had won 35 out of 36 contests that I’d entered over 11 years, and it made me bananas. In fact, winning isn’t the word. I won it once. The rest of the time, you’re just defending, and you get into this, like, turtle posture, you know? Where you’re not doing. It usurped the joy of what I loved to do because I was no longer doing it to create and have fun, and when it died out from under me, that was one of the most liberating things because I could create.
The creative process is most exhausting when you have to do a million little things to meet expectations (self-imposed or external) before you can begin to break new ground. It’s like the further you go, the more boxes you have to check before you can return to that intersection of quality and brand new. Sometimes you have to abandon the idea of standards if you want to set a new one.
Most embeddable maps are touch friendly in that you can swipe/scroll to reposition the map within their frame. This is great, but users can get stuck if the embedded map happens to fill a viewport at any given time. If there’s no piece of the actual page in site, there’ll be nothing to touch or swipe from.
Test this on a small touch screen. Unless you channel all your swiping mojo, you won’t be able to scroll to the bottom of the page.
This is most common with single column mobile views where containers occupy 100% of the viewport’s width. To avoid this, I’ll usually set the container closer to 90%. This provides rails on the right and left sides that ensure there’s always part of the page to swipe. I also try and keep the map’s height short. Maybe something like this:
As a general rule I gravitate towards larger type not only for relative readability, but also to help with touch targets. Yesterday, Matt Griffin from Bearded posted on the desire to, at times, use a base font-size that’s less than the 100% (16px) default for a range of media queried viewport widths. I questioned this in a series of nagging tweets, noting that touch and viewport size aren’t connected. The most popular touch devices may currently be phones and tablets, but you can also find touch screen offerings for 27” monitors and beyond.
I find it’s better to err on the side of larger type and bigger touch targets on any screen size, but I do think I was over-generalizing. In fact, there are a lot of places on the current Microsoft Homepage where we’re using 14px (0.875em) text. I think it works quite well for things like labels and caption/sub-text, especially for narrower columns.
Also, it’s entirely possible to have type smaller than 16px and maintain reasonable touch target sizing through vertical spacing like line-height and padding. Why both? Take a look at the two unordered lists below (Demo also on CodePen):
Example A only uses line height to establish vertical spacing, but when text wraps at narrower views the list items are hard to tell apart because lines of text and list item links are spaced the same. Example B has a tighter line-height with the difference being made up with the extra padding. This way, when the text wraps it’s easy to tell items apart. Bada-bing!
I’m looking forward to SXSW Interactive 2013, which kicks off this Friday, March 8th. This year there are 2 things I’m particularly excited about.
The first is the Dribbble meetup on Saturday, March 9th at 8pm at Scholz Garten. The event is hosted by Dribbble, Microsoft, Squarespace, Creative Market, Happy Cog, and Paravel. We had a trillion people and an ice sculpture last year, so don’t miss it.
Then, on Sunday, March 10th I get to be part of Adobe Creative Camp, which spans the entire day. I’m on a panel at 3:30pm called Responsive Design From Every Angle with Sophie Shepherd, Jacob Surber, and Emily Wengert. I’m honored to have been asked and think it’ll be great.
The infinitely talented Gerren Lamson recently posted his sketchnotes from the Responsive Design From Every Angle panel. Gosh, he’s good.
It’s been an honor to contribute a chapter to Smashing Magazine’s The Mobile Book. I had the lead-off position in a series of chapters about responsive web design that was brilliantly followed up by Brad Frost and Dave Olsen.
If you’d like to take the book for a test drive, good news! Mine is the free sample chapter (8.0mb PDF). But there’s nothing quite like the real thing. This is Smashing’s best looking book, topped off with illustrations by the infinitely talented Mike Kus.